Cette thèse étudie la relation intertextuelle entre dix œuvres fictionnelles de trois auteurs français et la Bible. Il s'agit de montrer, en s'appuyant sur les catégories de Gérard Genette, comment la Bible est réécrite par Paul Claudel, André Gide et Albert Camus. Le degré de l'hypertextualité dans les œuvres étudiées va d'une réécriture massive à l'emploi des citations implicites. Chacun des textes fictionnels est aussi en relation paratextuelle avec le récit biblique : ce sont des textes narratifs ou dramatiques dont le titre déjà fait allusion aux Écritures. On examine trois formes du rapport au texte biblique et au christianisme : l'un est celui d'un catholique pratiquant, le deuxième celui d'un incroyant d'origine protestante et le troisième celui d'un incroyant d'origine catholique. La Bible réécrite par Claudel met en scène un christianisme affirmatif alors que les réécritures de Gide et de Camus prennent le contrepied de la religion chrétienne. / The focus of this study is on textual links between ten fictional works by three French writers and the Bible. The text-orientated study illuminates how palimpsestuous writing has been actualised in the works of Paul Claudel, André Gide and Albert Camus. In this dissertation, the biblical hypotext, an earlier text that the author's text imitates or transforms, is considered one of the most significant features in their works, opening up whole new interpretations of their stories. Some of the works are more hypertextual than others but all are in a paratextual relation to a biblical story: their titles build the first link to the writings of the Bible. Each author featured in this study has a very different relation to Christianity: Paul Claudel is a practicing Catholic; André Gide who comes from a Protestant background is anti-religion; Albert Camus is an agnostic from a Catholic background. The case of Claudel is interesting: in his oeuvre, the biblical re-writing integrates the Catholic dogma and the influence of Saint Thomas. The writing of Gide proves the influence of the French Protestantism of his era; whereas Camus' interpretation of the biblical text is a consequence of a personal and selective reading containing reflections of Saint Augustine's notions.

My thesis attempts to answer the question of how narrative time is portrayed in Stephenie Meyer’s Twilight (2005). To examine this, I have chosen to utilize Gérard Genette’s use of the concepts order, duration, and frequency. These concepts are mainly taken from Genette’s Narrative Discourse: An Essay in Method (1980). In order to develop the discussion about time and narrative I also incorporate Martin Hägglund’s Dying for time: Proust, Woolf, Nabokov and About Time: Narrative, Fiction and the Philosophy of Time by Mark Currie. The analysis establishes that Meyer uses all three, order, duration, and frequency, in order to convey a very specific narrative. The order of the story shows how the character of Alice, who can see the future, has a very conditional relationship with time. Through the duration, we learn how the love interest, Edward Cullen, is highly prioritized in the main character and narrator’s eyes. This is also shown in the frequency, where the first-person narrator highly affects the passage of events by repeating specific actions. Twilight, in other words, uses many different ways to depict a distinct relationship with time

O Livro das mil e uma noites, traduzido por Richard Francis Burton do árabe para o inglês, no séc. XIX, causou um forte impacto na sociedade vitoriana por seu conteúdo erótico. Ao tentar superar as traduções de seus antecessores, Burton reuniu diversos manuscritos e versões impressas, para tentar abarcar o máximo possível de contos, além de acrescentar abundantes notas de rodapé acerca dos costumes da sociedade árabe dos países por onde ele viajou como representante do governo britânico. Sua tradução, constante na biblioteca pessoal de Jorge Luis Borges, inspirou um considerável número de contos desse autor. No âmbito da literatura comparada, as Noites representam um importante hipotexto para a obra borgeana, que reutilizou seus temas, argumentos, imitou seu estilo. Analisar as formas de transcendência textual na obra do autor argentino, através das classificações de Gérard Genette, possibilita uma interpretação das suas relações inter e hipertextual com os contos árabes. Genette procura delimitar com mais precisão termos como paródia, charge, pastiche, sátira, por exemplo, que continuamente são confundidos numa análise mais geral. A obra borgeana tem sido muito genericamente taxada de paródica, mas suas relações intertextuais são muito mais complexas, não apenas com as Mil e uma Noites, mas com todos os autores por ele transformados. Além disso, Borges é o criador de uma nova linguagem, de certos gêneros: como o conto ensaístico e a pseudo-tradução, elencados por Genette, que tem como fonte as Noites. Borges reutiliza o tradicional conto árabe modernizando-o e adaptando-o ao seu próprio estilo e aos tempos modernos, criando formas inteiramente novas de narrativa. / The book of the Thousands Nights and a Night, translated by Richard Francis Burton from Arabic into English, in the century. XIX, caused a strong impact on Victorian society for its erotic content. In trying to overcome the translations of his predecessors, Burton met several manuscripts and printed versions, trying to cover as much of tales, while adding abundant footnotes about the customs of Arab society of the countries through which he traveled as a representative of the British government . His translation, the constant personal library of Jorge Luis Borges, inspired a considerable number of short stories by this author. In the context of comparative literature, the Nights represent an important hypotext to work Borges, who reused their themes, arguments, imitated his style. Analyze textual forms of transcendence in the work of the Argentine author, through the ratings Gérard Genette, provides an interpretation of their relationship with the inter-and hypertextual Arab tales. Genette seeks to define more precisely terms like parody, caricature, pastiche, satire, for example, are continually confounded a more general analysis. Borges\'s work has been very generically labeled as parody, but their intertextual relationships are much more complex, not only with the Thousand and One Nights, but with all the authors he transformed. Moreover, Borges is the creator of a new language, certain genres: the short story as essayistic and pseudo-translation, listed by Genette, whose source the Nights. Borges reuses the traditional Arabic tale modernizing it and adapting it to their own style and modern times, creating entirely new ways of storytelling.

How is Stravinky still recognisable even if he “merely” transcribes someone else’s work and orchestrates almost without changing pitch and rhythm? What technical procedures enable him to add a certain haptic and physical feel to the sound? As Wolfgang Rihm once said, Stravinsky formed music – even that of others – with his big hands to suit it to his own image and thereby paving two ways: one historical and the other personal. Both of these lead to Venice. This essay concentrates on the analysis of Stravinsky\'s Two sacred songs from 1968. An accurate profile may be given to the results by comparing them with the orchestration (written for nearly the same instruments) which is realized in Gérard Grisey’s Wolf-Lieder from 1997. Works from the German-Austrian compositional tradition conflict both with Stravinsky’s and Grisey’s arrangements on account of a sensitivity to timbre that dates from an originally French tradition of orchestration. It will be shown that counterpoint can effectively become a neutralizing agent in this clash of cultures.

O Livro das mil e uma noites, traduzido por Richard Francis Burton do árabe para o inglês, no séc. XIX, causou um forte impacto na sociedade vitoriana por seu conteúdo erótico. Ao tentar superar as traduções de seus antecessores, Burton reuniu diversos manuscritos e versões impressas, para tentar abarcar o máximo possível de contos, além de acrescentar abundantes notas de rodapé acerca dos costumes da sociedade árabe dos países por onde ele viajou como representante do governo britânico. Sua tradução, constante na biblioteca pessoal de Jorge Luis Borges, inspirou um considerável número de contos desse autor. No âmbito da literatura comparada, as Noites representam um importante hipotexto para a obra borgeana, que reutilizou seus temas, argumentos, imitou seu estilo. Analisar as formas de transcendência textual na obra do autor argentino, através das classificações de Gérard Genette, possibilita uma interpretação das suas relações inter e hipertextual com os contos árabes. Genette procura delimitar com mais precisão termos como paródia, charge, pastiche, sátira, por exemplo, que continuamente são confundidos numa análise mais geral. A obra borgeana tem sido muito genericamente taxada de paródica, mas suas relações intertextuais são muito mais complexas, não apenas com as Mil e uma Noites, mas com todos os autores por ele transformados. Além disso, Borges é o criador de uma nova linguagem, de certos gêneros: como o conto ensaístico e a pseudo-tradução, elencados por Genette, que tem como fonte as Noites. Borges reutiliza o tradicional conto árabe modernizando-o e adaptando-o ao seu próprio estilo e aos tempos modernos, criando formas inteiramente novas de narrativa. / The book of the Thousands Nights and a Night, translated by Richard Francis Burton from Arabic into English, in the century. XIX, caused a strong impact on Victorian society for its erotic content. In trying to overcome the translations of his predecessors, Burton met several manuscripts and printed versions, trying to cover as much of tales, while adding abundant footnotes about the customs of Arab society of the countries through which he traveled as a representative of the British government . His translation, the constant personal library of Jorge Luis Borges, inspired a considerable number of short stories by this author. In the context of comparative literature, the Nights represent an important hypotext to work Borges, who reused their themes, arguments, imitated his style. Analyze textual forms of transcendence in the work of the Argentine author, through the ratings Gérard Genette, provides an interpretation of their relationship with the inter-and hypertextual Arab tales. Genette seeks to define more precisely terms like parody, caricature, pastiche, satire, for example, are continually confounded a more general analysis. Borges\'s work has been very generically labeled as parody, but their intertextual relationships are much more complex, not only with the Thousand and One Nights, but with all the authors he transformed. Moreover, Borges is the creator of a new language, certain genres: the short story as essayistic and pseudo-translation, listed by Genette, whose source the Nights. Borges reuses the traditional Arabic tale modernizing it and adapting it to their own style and modern times, creating entirely new ways of storytelling.

Gérard Gasiorowski, artiste français dont l'opus polymorphe, mais essentiellement pictural, s'est déroulé sur deux décennies seulement, a oscillé d'un photoréalisme austère et raffiné à un expressionnisme tourmenté et parfois lyrique. Mais si cette œuvre use indéniablement des moyens de la peinture, elle se veut avant tout, par son dispositif global, une réflexion critique sur la production esthétique de son temps et les différentes instances de l'art. Après une ascension fulgurante de peintre distingué, ayant épuisé les vertus de l'image, cet enfant terrible brise ses jouets pour se retrancher en un long cycle de travaux dit régressifs, avant de revenir à une interprétation grave et majestueuse de son histoire intime de l'art. Si ces trois temps de l'œuvre peuvent être lus comme des phases, ils peuvent être également considérés comme les chapitres d'un récit où l'auteur serait aussi le ou les personnages. Car, et de façon délibérée, c'est sur le registre de la fiction que l'ouvrage pictural s'est élaboré. Dérision et autodérision auront conduit Gasiorowski, pour échapper aux classifications d'usage, aux académismes, à inventer l'artiste qui saurait au mieux servir la peinture sans se servir. Car «Peinture» était pour lui corps et langage, soit une entité complexe et non un simple produit. S'appuyant sur une documentation augmentée et en partie inédite (exhumations des archives et de certaines œuvres) ainsi que sur une enquête portant sur les sources iconographiques utilisées par l'auteur, ce travail a, entre autres, permis d'établir que cette stratégie était présente, à l'œuvre, dès le début. / Gérard Gasiorowski was a French artist whose polymorphic, though essentially pictorial work, was developed over two decades only, and oscillated from an austere and sophisticated photorealism to a tormented and occasionally lyrical expressionism. But if his work undeniably uses the painting medium, it claims to be, before everything and as a whole, a critical thought of the aesthetic production of his time and the different art authorities. After a dazzling ascension as a eminent painter, this terrible child, having exhausted all the properties of the image, breaks his toys to take refuge in a long cycle of so-called regressive works, before returning to a serious and majestic interpretation of his persona! history of art. If these three moments can be seen as phases of his work, they can be considered as chapters of a novel as well, in which the author would also be the character(s), for his pictorial work has been based on fiction, in a deliberate way. Mockery and self-mockery finally led Gasiorowski to invent the artist who would know how to serve painting without serving himself, in order to escape usual classifications and academicism. Because « Painting » was a body, a language, i complex entity to him, and not just a product. Based on an extended and partly new documentation (exhumation of archives and some previously unseen works) and a survey on the iconographic sources used by the artist, this dissertation has, among other things, enabled to establish that this strategy was present in Gasiorowski's work since the beginning.

La postérité a considéré de manière privilégiée l’œuvre de Gérard de Nerval comme celle d’un poète sinon fou, du moins irrémédiablement mélancolique, en faisant peu de cas de son inspiration fantaisiste. Bien que parfois évoquée, cette facette de l’œuvre n’a à ce jour jamais fait l’objet d’une synthèse d’envergure. C’est à cette lacune quelque peu surprenante que notre étude ambitionne de répondre. Remettre à l’honneur la fantaisie de l’auteur des « Chimères » et d’Aurélia ne revient nullement à nier la folie nervalienne, mais plutôt à penser cette dernière en relation avec une fantaisie investie des aspirations romantiques les plus hautes, à remettre en question des traditions de lecture qui ont conclu à un isolement de l’œuvre au détriment d’une volonté de lucidité sans cesse réaffirmée par l’écrivain. Interroger la fantaisie nervalienne, c’est interroger les enjeux esthétiques, socio-politiques et éthiques d’une œuvre empreinte d’un enjouement fantasque qui s’est toujours voulue en prise directe sur l’actualité et soucieuse de refonder une communication littéraire alors en crise. / The works of Gérard de Nerval have mainly been regarded as the output of an irremediably melancholic, if not insane poet. However strongly established by his contemporaries, his fanciful inspiration, though occasionally mentioned, has never been subjected to thorough investigation. The ambition of this study is to rectify this rather intriguing omission. Delving into the fancy of the author of « Les Chimères » and of Aurélia, rather than denying Nerval’s madness, consists in assessing its connection with a fancy expressive of the highest romantic aspirations, as well as challenging customary interpretations that concluded in the isolation of an author’s writings, in spite of his own repeated assertions of lucidity. Probing Nerval’s fancy amounts to questioning the aesthetic, socio-political and ethical stakes of works imbued with whimsical cheerfulness, always bent on facing reality and eager to re-establish a literary communication that was then going through a critical period.

How is Stravinky still recognisable even if he “merely” transcribes someone else’s work and orchestrates almost without changing pitch and rhythm? What technical procedures enable him to add a certain haptic and physical feel to the sound? As Wolfgang Rihm once said, Stravinsky formed music – even that of others – with his big hands to suit it to his own image and thereby paving two ways: one historical and the other personal. Both of these lead to Venice. This essay concentrates on the analysis of Stravinsky\''s Two sacred songs from 1968. An accurate profile may be given to the results by comparing them with the orchestration (written for nearly the same instruments) which is realized in Gérard Grisey’s Wolf-Lieder from 1997. Works from the German-Austrian compositional tradition conflict both with Stravinsky’s and Grisey’s arrangements on account of a sensitivity to timbre that dates from an originally French tradition of orchestration. It will be shown that counterpoint can effectively become a neutralizing agent in this clash of cultures.

Syftet med denna uppsats är att undersöka berättarna och narraterna i Rick Riordans The Lightning Thief (2005) och The Lost Hero (2010), samt att se vilka implikationer de har på berättandet i sig självt. Uppsatsen fokuserar på en komparativ undersökning av romanerna i fråga, och gör allt detta från en narratologisk utgångspunkt. Det narratologiska perspektivet kommer framför allt ifrån Gérard Genettes Narrative discourse och hans termer extra-, intra-, hetero- och homodiegetiskt berättande. Studien av narraten gör detsamma men med Gerald Prince artikel ”Introduction to the Study of the Narratee” i Reader-response criticism: from formalism to post-structuralism. För ett bredare perspektiv på flera, både nyare och äldre, narratologiska studier använder uppsatsen också Manfred Jahns ”Narratology 2.1: A Guide to the Theory of Narrative”. Genom analysen kan man utläsa att The Lightning Thief antar ett homo- och extradiegetiskt berättande med en specifik grupp av narrater. Detta kontrasteras med The Lost Heros hetero- och extradiegetiska berättande med en grundnarrat utan uppenbara kännetecken. I förlängningen kan man också upptäcka att det finns en skillnad mellan berättarens och narratens förhållande till en verklig läsare och hur, speciellt i The Lightning Thief, läsaren är tvingad att fundera på hur den relaterar till både narraten och berättaren. / This paper aims to study the narrators and the narratees in Rick Riordan's The Lightning Thief (2005) and The Lost Hero (2010), and to see what implications they have on the narrative itself. The paper focuses on a comparative examination of the novels in question and does all this from a narratological standpoint. The narratological perspective first and foremost comes from Gérard Genette's Narrative discourse and his terms extra-, intra-, hetero-, and homodiegetic narrative. The study of the narratee does the same but with Gerald Prince's article "Introduction to the Study of the Narratee" in Reader-response criticism: from formalism to post-structuralism. For a wider perspective of several, both new and old, narratological studies the paper also uses Manfred Jahn's "Narratology 2.1: A Guide to the Theory of Narrative". Through the analysis, one can gather that The Lightning Thief takes on a homo- and extradiegetic narrative with a specific group of narratees. This is contrasted with The Lost Hero's hetero- and extradiegetic narrative with a "zero-degree narratee" that has no apparent characteristics. By extension, one can also notice that a difference lies with the narrator's and narratee's relationship to an actual reader and how, especially in The Lightning Thief, the reader is forced to figure out how it relates to both the narratee and the narrator.

Abstract: Das Bedeutungsfeld der Zeit im literarischen Genre der zur Kurz-Epik hinzugehörenden Volksmärchen und Kunstmärchen wird in dieser literaturwissenschaftlichen Untersuchung in den Mittelpunkt gerückt. Ausgegangen vom aristotelischen Zeitbegriff, der Bewegung und Veränderung als unabdingliche Merkmale der Zeit postuliert, wird nach dem Unterschied des den Märchen der Brüder Grimm und H.C. Andersen jeweils zugrunde liegenden Zeitbegriffs der zeitlich aufeinanderfolgenden Autoren gefragt. Daraus ergibt sich eine durch die close reading Methode gestützte Untersuchung, wie sie die Zeit anhand eines Beispiels aus ihren Werken thematisch, stilistisch und narratologisch organisiert haben. Der strukturalistische Literaturtheorieansatz Gérard Genettes hilft dabei die Komposition aus erzählter Welt und Erzählwelt der Märchen zu begreifen und die Zeitorganisation der vorliegenden Werke nach Ordnung, Dauer und Frequenz zu unterscheiden. Der aus dem erkenntnistheoretischen Ansatz Käte Hamburgers entwickelte Begriff des Epischen Präteritums lenkt das Bewusstsein auch auf  die zugrunde liegenden Rahmenbedingungen der epischen Fiktion in der Dichtkunst und verhelfen die zeitliche Ansprache an die Leser in die Untersuchung mit einzubinden. In der Untersuchung wird auch der Rhythmus als ein Wechselspiel der Zeit entdeckt und ihn als eine ihr dazugehörende Qualität erkannt und miteinbezogen. Als Beispiele wird das Volksmärchen „Die Sterntaler“ und Andersens „Das kleine Mädchen mit den Schwefelhölzern“ nach einem zwischen Form und Inhalt möglich kongruenten Zeitbegriff untersucht. Ein in dieser literarischen Auseinandersetzung entstehendes Begriffsnetz der sich gegenübergestellten Werke unterstützt die Annahme des kulturgeschichtlichen Wandels der Einstellung zur Zeit bei H.C. Andersen gegenüber der der Brüder Grimm und mag zur Diskussion und fortlaufenden Forschung der Literaturgeschichte im Detail beitragen. / <p>Jag skickar det nu en gång till, hoppas det är rätt och kommer fram</p>